ART 210
- THE PHOTOGRAPHIC VISIONTelecourse #MV2084 • Fall 2009
Multimedia Design
Lane Community College • 4000 East 30th Avenue • Eugene, OR 97405
INSTRUCTOR
Dr. Patrick Lucanio
Office: 210 Bldg. 17 [Forum]
Office Hours: Tuesday-Wednesday 9:30-10:30; and by appointment
Telephone: 463-5136; e-mail: lucaniop@lanecc.edu or cinepat@comcast.net.
Distance Learning Department: (541) 463-5893 Bldg 19 Room 253
Distance Learning Website: www.lanecc.edu/distance.
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The Photographic Vision Website:
www.cinemavisionlcc.info
COURSE DESCRIPTION
The Photographic Vision is an introductory telecourse in photography, which approaches the medium as an art form and unique means of human communication as well as technical skill. The student is introduced to basic mechanical principles of the camera, is shown how throughout history photography has influenced human perception and communication, and is provided with techniques for responding to the content and structure of photographs. Renowned photographers representing technical, commercial, and artistic perspectives appear as guests on the instructional videos, discussing and demonstrating their unique approaches to their work. Guest museum curators, historians, and critics provide the historical and aesthetic dimensions. Throughout the series students have the opportunity through self-guided exercises to expand their own "photographic vision."
COURSE OBJECTIVES
By completing this course with a grade of "C" or better, you should be able to:
SCHEDULE
The following are significant dates:
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USE E-MAIL FOR BEST RESULTS
I may be reached, of course, during office hours, but if I am unavailable for any reason, please use e-mail for fast and more detailed and dependable responses to your needs. |
COURSE WEBSITE
DO NOT RELY ON MOODLE. Although there is a Moodle page for this course it is best to monitor the course website: cinemavisionlcc.info. Click on the relevant links for any specific information regarding this course. Each week click on FYI for up-to-date information regarding the course, such as reminders about review sessions, exam times, and other information crucial to succeeding in this course. Remember, it is always best to reach me by e-mail, and I have supplied you with two e-mails: lucaniop@lanecc.edu and cinepat@comcast.net. I will check both e-mail addresses each evening.VIEWING TELECOURSE PROGRAMS AND TAPES
Taking a telecourse requires a disciplined and controlled environment. Watching each program will demand your undivided attention. It is recommended that you do the readings in the text and lab manual before viewing the programs. A viewing schedule is included to allow you to keep up with the programs.
Every week two 30-minute lessons will be broadcast on Comcast Cable channel 23 and on Charter Communications Cable channel 9. Each lesson will be cablecast several times during the week. For dates and times, please check the viewing schedule in this syllabus. If you have any technical difficulties call the campus cable at (541) 463-5319.
If you miss any programs at home they may be viewed in the LCC library on the main campus (2nd floor, Center Building, 541-463-5220). Videotapes are also available for a one-week loan at no charge (limited to one tape at a time). When requesting to view or check out a tape in the library, please identify this telecourse by the number MV#2084. RMI Media Productions rents the programs for $55 plus shipping. To order call RMI at (800) 745-5480.
NOTE. Students with access to cable television should watch and/or record the programs at home. This helps makes the checkout tapes available for students who don’t receive cable.
EXAMINATIONS
You are responsible for completing two examinations, a midterm exam and a final exam. Both exams must be taken as scheduled. All exams will be administered at the Social Science Testing Lab in Center 456. Out of area students can take the midterm and final exams at the LCC Cottage Grove and Florence Outreach. Testing lab schedule is as follows:
Photo I.D. is required in order to take the exams. Your notes must be on a single 3x5 card; otherwise you will not be allowed to use notes to complete the exam. REMEMBER: Photo ID is required, and your notes must be on a single 3x5 card.
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IMPORTANT INFORMATION ABOUT THE EXAM PERIODS
YOU are responsible for your examination. The examination will be available only during certain hours during the exam period. Note that the exams will be available for FOUR DAYS ONLY during each exam period with each exam closing at 5 p.m. on Thursday of that week. You will have to check with the testing center for hours of each testing location (campus, Cottage Grove and Florence). Get it? YOU will have to check with each center for hours of operation during each exam period and remember the exam period closes at each location at 5 p.m. on Thursday. You can call the Social Science testing lab at 541-463-5845 or you can check the hours at this website: http://teach.lanecc.edu/timmerst. There will be no makeup examinations.* You have been warned. End of story! |
While the exams are generally not cumulative, you will find that some topics dealt with in the first half of the course are revisited in the latter half. As such, follow the readings carefully, noting what material you will need to review for the final exam. Both exams are multiple choice. Please be advised that taking exams early ensures timely receipt of exams.
*In the event of an emergency that would prevent you from taking an exam on the date set, contact your instructor promptly to re-schedule the exam. You may be asked to provide a valid and verifiable excuse. Instructor approval for makeup exams is not automatic, but will be determined on a case-by-case basis.
EXTRA CREDIT
Since I appreciate students who are actually interested in their own education, I allow any student to complete an extra credit project or report to compensate for a poor grade on a test (this does not apply to a missed exam). You may earn extra credit by completing one of the following written assignments:
Specifically, in completing either option, you are to:
Your paper will be graded on the basis of what has been deemed the "3-Cs:" 1) Content (the bio, the photo, and the evaluation), 2) Coherence (how your thoughts flow and come together), and 3) Clarity (clear thought unencumbered by grammatical and surface errors). Remember, please give credit to all sources consulted whether quoted or not. Your sample may be obtained from books, websites, etc., and must be of sufficient size; your original photo should be at least 5x7 in size. A complete explanation of my grading philosophy is attached.
Your paper must be no more than 3 pages; your sample photograph and your "works cited" page—if needed—do not count toward the page limit. As always, your paper will be "word-processed" (typed) with double-spacing using 12-point standard Times New Roman font and with 1-inch margins.
Your paper is due December 8 at 10:30 a.m. in my office. You may also mail it with a post mark no later than December 4 to: Dr. Patrick Lucanio, Photographic Vision Instructor, Art Department, Lane Community College, 4000 East 30th Avenue, Eugene, OR 97405. Be advised that mail can get lost or delayed; if you decide to mail your assignment ask the postal clerk for a receipt at the time of mailing (it’s free), and keep the receipt that provides evidence of mailing. Please do not—do not—submit your assignment via e-mail, FAX, or in any other electronic format (including disk). I will read hard copy only!
VIEWING SCHEDULE
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Photographic Vision ART210 |
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MV#2084 |
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Lane Community College |
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Comcast ch 23 & Charter Communications ch 9 |
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Fall term 2009 |
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30-minute programs |
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Monday |
September |
28 |
11:00pm |
Image & Impact (Program 1) |
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Thursday |
October |
1 |
11:00am |
Repeat - Program 1 |
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Friday |
October |
2 |
4:00pm |
Repeat - Program 1 |
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Saturday |
October |
3 |
4:00am |
Repeat - Program 1 |
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Sunday |
October |
4 |
7:00pm |
Repeat - Program 1 |
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Monday |
October |
5 |
11:00pm |
The Camera (Program 3) |
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Thursday |
October |
8 |
11:00am |
Repeat - Program 3 |
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Friday |
October |
9 |
4:00pm |
Repeat - Program 3 |
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Saturday |
October |
10 |
4:00am |
Repeat - Program 3 |
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Sunday |
October |
11 |
7:00pm |
Repeat - Program 3 |
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Monday |
October |
12 |
11:00pm |
Responding to Light (Program 5) |
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Thursday |
October |
15 |
11:00am |
Repeat - Program 5 |
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Friday |
October |
16 |
4:00pm |
Repeat - Program 5 |
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Saturday |
October |
17 |
4:00am |
Repeat - Program 5 |
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Sunday |
October |
18 |
7:00pm |
Repeat - Program 5 |
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Monday |
October |
19 |
11:00pm |
The Film (Program 7) |
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Thursday |
October |
22 |
11:00am |
Repeat - Program 7 |
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Friday |
October |
23 |
4:00pm |
Repeat - Program 7 |
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Saturday |
October |
24 |
4:00am |
Repeat - Program 7 |
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Sunday |
October |
25 |
7:00pm |
Repeat - Program 7 |
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Monday |
October |
26 |
11:00pm |
Structure Within the Image (Program 9) |
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Thursday |
October |
29 |
11:00am |
Repeat - Program 9 |
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Friday |
October |
30 |
4:00pm |
Repeat - Program 9 |
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Saturday |
October |
31 |
4:00am |
Repeat - Program 9 |
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Sunday |
November |
1 |
7:00pm |
Repeat - Program 9 |
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Monday |
November |
2 |
11:00pm |
The Darkroom (Program 11) |
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Thursday |
November |
5 |
11:00am |
Repeat - Program 11 |
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Friday |
November |
6 |
4:00pm |
Repeat - Program 11 |
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Saturday |
November |
7 |
4:00am |
Repeat - Program 11 |
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Sunday |
November |
8 |
7:00pm |
Repeat - Program 11 |
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Monday |
November |
9 |
11:00pm |
Time and Motion (Program 13) |
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Thursday |
November |
12 |
11:00am |
Repeat - Program 13 |
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Friday |
November |
13 |
4:00pm |
Repeat - Program 13 |
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Saturday |
November |
14 |
4:00am |
Repeat - Program 13 |
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Sunday |
November |
15 |
7:00pm |
Repeat - Program 13 |
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Monday |
November |
16 |
11:00pm |
Landscape & Cityscape (Program 15) |
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Thursday |
November |
19 |
11:00am |
Repeat - Program 15 |
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Friday |
November |
20 |
4:00pm |
Repeat - Program 15 |
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Saturday |
November |
21 |
4:00am |
Repeat - Program 15 |
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Sunday |
November |
22 |
7:00pm |
Repeat - Program 15 |
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Monday |
November |
23 |
11:00pm |
Photojournalism (Program 17) |
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Thursday |
November |
26 |
11:00am |
Repeat - Program 17 |
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Friday |
November |
27 |
4:00pm |
Repeat - Program 17 |
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Saturday |
November |
28 |
4:00am |
Repeat - Program 17 |
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Sunday |
November |
29 |
7:00pm |
Repeat - Program 17 |
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Monday |
November |
30 |
11:00pm |
The Marketplace (Program 19) |
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Thursday |
December |
3 |
11:00am |
Repeat - Program 19 |
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Friday |
December |
4 |
4:00pm |
Repeat - Program 19 |
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Saturday |
December |
5 |
4:00am |
Repeat - Program 19 |
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Sunday |
December |
6 |
7:00pm |
Repeat - Program 19 |
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GRADING
Each assignment will receive a letter grade (A-F). Your grade comes from the exams and if applicable the extra credit paper; hence, the minimum requirement with regard to assignments is the completion of the two exams. Each exam is worth 100% (not cumulative points) and is graded according to the percentage of correct answers; thus, 100-90 equals A, 89-80 equals B, 79-60 equals C (a big spread, I know, but that’s because I’m just a swell guy), 59-50 equals D, and any score below 50% assures failure.
Your final grade will be determined solely from the exams and the optional paper. I reserve the right to add a "+" or a "—" to each exam and to the final grade.
Grading Philosophy for Extra Credit Paper
The underlying assumption is that everyone in class produces C level work; this means that all members of the class are considered average writers until they prove otherwise. In this regard, then, the C level project has a clear purpose that is adequately developed. The paper's organization is satisfactory, and the assignment avoids serious errors in the use of English. However, the paper lacks what is referred to as "the vigor of thought and expression" which would entitle it to an above-average rating.
Accordingly, the B paper is clear, concise, precise, substantial, and free of serious mechanical errors. Moreover, a central purpose is evident and this purpose is logically developed; in addition, the paper displays proper unity and coherence that reflect the organized mind of the writer. Although the writer of the B paper demonstrates competence at all levels, the final product nonetheless lacks the originality of thought and style indicative of the superior, or A, paper. The superior composition, then, is marked distinctly by its originality of thought and style; this is to say that the paper has something important to say and says it in the best possible way. The "way" in this regard refers to the writer's ability to harmonize two essential factors of composition. First, the paper is free of serious mechanical errors; this is to say that, for example, there are no incorrect words, no incorrect spellings, no misplaced apostrophes, no dangling modifiers, no divergent (what is referred to as unparallel) constructions, no dangling pronouns (antecedent clearly understood), and no run-on sentences to detract from the writer's purpose. Secondly, this central purpose (thesis) is clearly stated and logically developed; in addition, the overall paper demonstrates a carefully constructed quality, incorporating the appropriate use of smooth transitions, in order to impart the thesis. As a result, the paper possesses an air of authority and sophistication, and as such the effect of the composition provokes reader response.
On the other hand, the D paper indicates a below average achievement in expressing ideas correctly and adequately. Normally, a D paper contains a number of serious mechanical errors (outlined above), or an abundance of irritating errors in grammar, spelling, and punctuation (errors, moreover, that can be often detected by proofreading). It should be understood, however, that a badly organized, confusing, and rambling paper may receive a D grade even if the paper is mechanically correct; this seldom happens, however, because a clear, organized paper is nearly always expressed adequately. An F grade indicates the writer's failure to state and develop effectively a main idea. This failure is often the result of numerous serious mechanical errors combined with an abundance of errors in simple grammar and usage. Also, clarity is hopelessly absent; in other words, the reader hasn't the foggiest notion as to what the paper means or what it is even trying to say. This is often the result of illogical constructions, poorly reasoned conclusions, and just plain, sloppy thinking.
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PROGRAM AND READING SCHEDULE • THE PHOTOGRAPHIC VISION • MV#2084 |
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Image and Impact Defines photography as a technical skill and means of personal expression and self-discovery. A Visual Heritage A history of photography and allows viewers to explore the George Eastman House. Beaumont Newhall, author of The History of Photography, discusses two early key figures: Nadar and the Julia Margaret Cameron.
Text: Chapter 17
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. The Camera Focuses on five key components of photography: the viewing system, the focusing system, the shutter system, the aperture, and the lens. Expert Mark Johnstone describes the basic features of the camera. Seeing with the Camera Explains the differences between human and camera vision to demonstrate that what the photographer sees with the eye is often different from the photograph that results. Ansel Adams discusses his disciplined techniques for seeing photographs. This lesson outlines the use of lenses, special cameras, and accessories.
Text: Chapters 1, 2, 3 |
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. Responding to Light Describes the qualities and effects of available light. Guest Jack Welpott describes the way he responds to specific lighting conditions. Types of lighting, using a light meter, and the effect of natural light are also explored. Controlling Exposure Explores the use of shutter and aperture settings, particularly with respect to motion and depth of field.
Text: Chapters 4, 5, 12 |
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The Film Lists the factors to be considered when selecting the type of film to be used, choosing filters to achieve specific effects, and assuring correct exposure of photographs. Reading Photographs Explores the impact of photographs as visual communication and the importance of context in determining a photographic message.
Text: Review Chapter 4; Chapter 7, Chapter 16 and "Troubleshooting" (pp. 400-410)
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Structure Within the Image Defines the elements that create structure within a photographic image, including line symmetry, pattern, foreground-background relationship, and color and contrast. Color Explains the history of color photography and how color techniques affect the emotional, dimensional, and aesthetic qualities of photographs.
Text: Review Chapter 17; Chapter 9
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The Darkroom Charts the creation of a final photographic print through exposure and development of film stock. Expert Jerry Burchfield demonstrates basic procedures for processing and printing photographs, and explains the creative purpose behind such darkroom manipulations as the photogram, polarization, high-contrast photography, and toning. The Studio Outlines basic techniques used to control artificial light sources in the studio by combining and positioning lights. Expert Jerry Abramowitz demonstrates a typical advertising assignment while Sandi Fellman discusses fashion photography.
Text: Chapter 6, 7.
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Time and Motion Explains various techniques used for capturing time and motion on film, including the use of strobe lighting. The way in which action photography combines mechanical techniques with photographic creativity is also explored. The Portrait Presents the tradition and evolution of the photographic portrait and discusses expressive and individualized approaches used when taking pictures of people. Photographers Arnold Newman and Judy Dater describe practical techniques for using lighting, pose, mood, and environment to create memorable photographic portraits.
Text: Chapter 17 (p. 378); see also pp. 218, 290-291; review Chapter 2, 4, 12.
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Landscape and Cityscape Provides a history of landscape and cityscape photography illustrated by the works of Ansel Adams. Visual Documents Traces the historical development of photographs as documents and demonstrates the importance of photographic records in science, industry, and law. David Scharf describes the use of electron microscope photography in the field of scientific research. The role of family albums as historical documents is also explored.
Text: Chapter 17 (p. 379)
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Photojournalism Presents photojournalists Ross Baughman and Larry Burrows and their contrasting perspectives on their profession, particularly with respect to gaining a subject’s trust and securing permission to take a person’s photograph. The issues of truth, objectivity, and ethics in photojournalism are also explored. Artistic Expression Tours a photographic gallery and offers insight into photography as a medium of individual artistic expression. Nathan Lyons presents a decade-long photographic exploration of his ideas, and Susan Rankaitis displays her oversized photographic montages.
Text: Chapter 16 and 17 (appropriate sections)
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The Marketplace Presents aspects of photography as a career. David Fahey discusses gallery representation, Ellen Henderson offers her perspective on work with stock photography agencies, and Ross Baughman presents his experiences as a photojournalist. A Lifetime in Photography Concludes the series by documenting the career of Max Yavno in commercial and art photography, as well as his viewpoints on light, film, the aesthetics of color versus black and white, the darkroom, and photographic equipment.
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ADDITIONAL DETAILS AND FINE PRINT
Lane Community College's Administrative Withdrawal Policy For Telecourses (revised Fall 2009):
Students must log in to their telecourse in Moodle (http://classes.lanecc.edu) before the end of the first week of classes. Students who do not log in to the course website may be administratively dropped from their telecourse. Students should not assume that the instructor will withdraw them for not logging in and should officially drop any class in which they do not intend to participate. Classes are dropped using ExpressLane. After SUNDAY, October 4, at midnight, no tuition or fees will be refunded. Students withdrawing from a course after the refund period is over will NOT receive a refund. It is the student’s responsibility to officially drop. Students are responsible for all charges for classes not dropped by the full refund deadline. For college policy regarding refunds, see Lane’s website or the current Aspire Magazine.
Distance Learning:
Distance Learning is located in the Workforce Training Building 19, room 253A, 463-5893. Telecourse students may call (541) 463-5319 with cable viewing discrepancies.
Disability Resources Statement:
If you need support or assistance because of a disability, you may be eligible for academic accommodations. Contact Disability Resources at (541) 463-5150, or TTY 463-3079, or stop by Bldg.1, Room 218.
Main Campus Bookstore Hours:
First week of classes beginning Sept. 29 through Sat., Oct. 3: Tues. through Thurs., 8 am-7:30 pm; Fri., 8 am-4:30 pm.; Sat., 9 am-1 pm. Distance learning students may have books shipped by using VISA/ MasterCard. For details, call the LCC Bookstore, (541) 463-5676, or email bollenbaughp@lanecc.edu Last day to return books for full refund is Monday, Oct. 5. Details for students using CreditLine may be found at: http://titanstore.lanecc.edu/SiteText.aspx?id=5808
Main Campus Library Services:
All telecourses may be viewed in the library on the main campus. In addition, videotape/DVD copies may be checked-out for 1 week. Lane’s library is open Mon. through Thurs., 7:30 am–7 pm; Fri., 7:30 am–5:30 pm. Closed Sat. and Sun. For magazine articles, books, newspapers and other Internet resources visit the library home page at www.lanecc.edu/library/ Distance Learning students who wish to check videos, books etc., out of the main library will need to show a driver’s license, passport, high school ID, Lane ID or any other type of legitimate photo ID.
Internet and Computer Access:
Main Campus Student Computer Lab/Student Help Desk (SHeD), Bldg. 4, Room #201 Hours: Mon. through Thurs., 7:30am-7pm; Fri., 7:30am-6pm. Closed Saturdays and Sundays and holidays. Laptop computers are available for 2-hour checkout in the Lane Library and may be used anywhere inside the Library.
Social Science Testing Lab:
Check the website for operating hours: https://teach.lanecc.edu/timmerst/
Student Activity Fee, Photo ID and Transportation Fee Information:
Students only enrolled in distance learning courses (no on-campus courses) are not charged the ASLCC Student Activity Fee. An LCC photo ID is not required to attend Lane. It is available to all currently registered students as an alternate form of photo identification. A card may be purchased at a cost of $5 through Enrollment Services, Building 1 or the Downtown Center. Distance Learning students are not charged the $26 transportation fee and are not eligible for an LTD Bus Pass. DL students are charged a $5 transportation fee.
Proctored Exams With Off Campus Proctors:
Proctored testing is an option available for students who live outside of the local Lane County area. For complete information, please go to: www.lanecc.edu/distance/testing.htm (This does not apply to students enrolled at the Cottage Grove and Florence campuses.)
Grade Reports:
Beginning on Wednesday following the end of the term, students can obtain unofficial transcripts with their grades from ExpressLane. Grade reports are not mailed. Official transcripts may be paid for and ordered through ExpressLane or at Enrollment Services on the main campus or by calling (541) 463-3100.
FALL 2009 • IMPORTANT DATES
September 29........................................ Classes
Begin
September 30 Orientation
October 4, midnight............................... Last day to receive refund
October 28 Review Session • Live Broadcast
NOVEMBER 2 through NOVEMBER 5 Midterm Exam
November 11 Veterans Day • College Closed
November 20........................................... Last day for schedule changes
November 26-29 Thanksgiving • College Closed
December 2 Review Session • Live Broadcast
DECEMBER 7 through DECEMBER 10 Final Exam
December 8 (10:30 a.m.) Extra Credit Due
December 12.......................................... Fall term ends
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